Scientific Verification of Vermeer's Use of Camera Obscura

维米尔使用暗箱的科学验证

• 批准号: 08610056
• 负责人: NAKAMURA Koichi
• 金额: $ 0.77万
• 依托单位: Tokyo Institute of Polytechnics
• 依托单位国家: 日本
• 项目类别: Grant-in-Aid for Scientific Research (C)
• 财政年份: 1996
• 资助国家: 日本
• 起止时间: 1996 至 1997
• 项目状态: 已结题
• 来源: https://kaken.nii.ac.jp/grant/KAKENHI-PROJECT-08610056/
• 关键词: Johannes Vermeer; Dutch Painting; Painter of Everyday Life; Camera Obscura; Optical Effects; Vignetting Effects; Perspective; フェルメール; カメラ・オブスク-ラ; ヨルゲン・ワドゥム; 風俗絵画; 画像情報のデータベース; レンズを通した視覚; 写真前史

Johannes Vermeer (1632-1675), a Dutch painter of everyday life in 17th century Holland, constructed works of art completely different from other painters of his day. The hypothesis that Vermeer used the forerunner of the modem photographic camera, the camera obscura as an aid in making his paintings has been repeatedly submitted since the revaluation of his art in the late 19th century. Although historical sources indicate contemporary interest in the camera obscura, they do not specifically document Vermeer's use of this device. The main purpose of this study is to examine whether this hypothesis can be substantiated.Because a camera obscura leaves few physical traces on the painting, one must rely on an interpretation of the image to determine whether it exhibits characteristics derived from the use of a camera obscura. Upon close examination, a number of optical effects visible in the camera obscura are found in at least some of his paintings, They are the accentuated perspective, heightened colors, contrasts of light and dark, halation of highlights, and vignetting effects.The first exhibition devoted exclusively to Vermeer was held in 1995-96 in the National Gallery of Art, Washington and the Royal Cabinet of Paintings Mauritshuis. Since then, an international team of scholars has presented new ideas about Vermeer's creative process and technical means. For example, an essay in the catalog for the exhibition by Jorgen Wadum, chief paintings conservator at the Mauritshuis, provides the artist's use of perspective in which he reveals new evidence of Vermeer's working methods. A critical analysis of Wadum's essay is included in the last chapter of this report.

约翰尼斯·弗米尔(Johannes Vermeer，1632-1675)是一位17世纪荷兰日常生活中的荷兰画家，他创作的艺术品与同时代的其他画家完全不同。自19世纪末弗米尔的艺术重新估价以来，人们一再提出这样的假设，即弗米尔使用现代摄影相机的前身--暗箱相机--来辅助他的绘画。尽管历史资料表明当代人对相机暗箱感兴趣，但他们并没有具体记录弗米尔对这种设备的使用。这项研究的主要目的是检验这一假设是否成立。由于遮光罩在画上几乎没有留下物理痕迹，人们必须依靠对图像的解释来确定它是否表现出使用遮光罩所产生的特征。经过仔细观察，至少在他的一些画作中可以发现一些在相机暗箱中可见的光学效果，它们是突出的透视、突出的颜色、明暗对比、高光光晕和晕眩效果。第一次专门为弗米尔举办的展览于1995-96年在华盛顿国家美术馆和毛里塔尼亚皇家画廊举行。从那时起，一个由国际学者组成的团队对弗米尔的创作过程和技术手段提出了新的想法。例如，毛里塔尼亚画廊首席绘画保管员约尔根·瓦杜姆在展览目录中的一篇文章提供了艺术家对透视的使用，其中他揭示了弗米尔工作方法的新证据。本报告的最后一章对瓦杜姆的文章进行了批判性分析。